For 540 reviews, this critic has graded:
  • 31% higher than the average critic
  • 1% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Anthony Lane's Scores

  • Movies
Average review score: 61
Highest review score: 100 The Piano
Lowest review score: 0 The Da Vinci Code
Score distribution:
  1. Negative: 46 out of 540
540 movie reviews
    • 51 Metascore
    • 30 Anthony Lane
    Ferocious onslaught of obligatory good cheer.
    • 68 Metascore
    • 30 Anthony Lane
    Streep can do anything. She is, of course, wasted on this elephantine fable; if only Doubt had been made in 1964, shot by Roger Corman over a long weekend, and retitled "Spawn of the Devil Witch" or "Blood Wimple," all would have been forgiven
    • 49 Metascore
    • 30 Anthony Lane
    Emmerich’s main achievement is to take a bunch of excellent actors, including Danny Glover, Thandie Newton, Chiwetel Ejiofor, and Woody Harrelson, and to prevent all of them--with the exception of Oliver Platt and a pair of giraffes--from giving a decent performance.
    • 55 Metascore
    • 30 Anthony Lane
    Can a director be arrested for the attempted hijack of our emotions?
    • 54 Metascore
    • 30 Anthony Lane
    Forget satire; this guy doesn't want to scorch the earth anymore. He just wants to swing his dick.
    • 48 Metascore
    • 30 Anthony Lane
    The movie--directed by Atom Egoyan, who should know better--is closely adapted from “Nathalie,” a French film of 2004, with Gérard Depardieu and Emmanuelle Béart, but what seemed like standard practice for Parisians comes across here as unsmiling porno-farce.
    • 53 Metascore
    • 30 Anthony Lane
    All is dour and dun. We are a long way from Errol Flynn marching in with a deer slung over his shoulder, or from the Fairbanks who didn’t merely scamper and swing from one errand of justice to the next. He SKIPPED.
    • 69 Metascore
    • 30 Anthony Lane
    The film is alive with bad rock bands and dizzying bit parts, the standout being Kieran Culkin, in the role of Scott's gay roommate, but we feel them gyrating around a hollow core.
    • 65 Metascore
    • 30 Anthony Lane
    The whole thing does seem preternaturally stained with Weltschmerz.
    • 46 Metascore
    • 30 Anthony Lane
    Bad movie!
    • 59 Metascore
    • 30 Anthony Lane
    Road to Nowhere is a dead end. Most of the performances are carved from balsa wood. [13 & 20 June 2011, p. 129]
    • 42 Metascore
    • 30 Anthony Lane
    The first ten or fifteen minutes of Michael Bay's movie tremble, unaccountably, on the verge of being fun. [11 & 18 July 2011, p.101]
    • 31 Metascore
    • 30 Anthony Lane
    Reese Witherspoon is a woman, aged thirty-five, with a bundle of grownup roles behind her. Yet in order to retain her slot in romantic comedy, it appears, she must reverse into her teens. What makes the transition yet more depressing is the memory of Tracy Flick. [27 Feb. 2012, p.86]
    • 40 Metascore
    • 30 Anthony Lane
    The over-all result is a misstep for Fleischer. [21 Jan. 2013, p. 78]
    • 44 Metascore
    • 30 Anthony Lane
    The new movie wears an air of old hat. I would absolutely defend Haneke’s right to relaunch his broadside on our voyeuristic vices, but he’s not keeping up with the times; he’s behind them.
    • 55 Metascore
    • 30 Anthony Lane
    What Rachel McAdams is doing in this nonsense is anyone's guess, but she must realize that the long journey from "Mean Girls" to Mary, with her mousy bangs and her timid pleas counts as a serious descent. [11 Nov. 2013, p.90]
    • 28 Metascore
    • 20 Anthony Lane
    The mélange of plots, subplots, reveries, gags, cartoons, dirty bits, and hissy fits points to a work that is structurally modelled less on the classic narratives of cinema than on, say, a portion of Russian salad.
    • 38 Metascore
    • 20 Anthony Lane
    The cast looks sound enough—John Goodman as Fred Flintstone, Elizabeth Perkins as Wilma, Rick Moranis and Rosie O'Donnell as the Rubbles—but the script, cobbled together by a crowd of writers, gives them nothing but a handful of limp gags.
    • 27 Metascore
    • 20 Anthony Lane
    The whole enterprise heaves and strains with a sadistic overkill that even Dario might find too rich.
    • 37 Metascore
    • 20 Anthony Lane
    Though the film is not as criminally poor as "V for Vendetta," which the Wachowskis wrote in 2005, it struck me as more insidious.
    • 34 Metascore
    • 20 Anthony Lane
    To be honest, I would be perfectly happy to walk with a zombie after ninety minutes of this; it would feel like light relief.
    • 56 Metascore
    • 20 Anthony Lane
    The problem is that Snyder, following Moore, is so insanely aroused by the look of vengeance, and by the stylized application of physical power, that the film ends up twice as fascistic as the forces it wishes to lampoon.
    • 32 Metascore
    • 10 Anthony Lane
    The director is Bob Spiers, though it's hard to judge whether he actually turned up on the set.
    • 68 Metascore
    • 10 Anthony Lane
    The general opinion of Revenge of the Sith seems to be that it marks a distinct improvement on the last two episodes, "The Phantom Menace" and "Attack of the Clones." True, but only in the same way that dying from natural causes is preferable to crucifixion.
    • 49 Metascore
    • 10 Anthony Lane
    But by the end, the charm and delicacy of the 1961 cartoon have long been replaced by laborious gross-outs. Is this now official Disney policy?
    • 27 Metascore
    • 10 Anthony Lane
    The funniest thing about The Women is that Mick Jagger is one of the producers.
    • 26 Metascore
    • 10 Anthony Lane
    Madonna's mess of a movie grabs at the rub and rancor of multiculturalism, which it proceeds to squash into a litter of clichés, or, more simply, insults.
    • 45 Metascore
    • 10 Anthony Lane
    The Expendables is savage yet inert, and breathtakingly sleazy in its lack of imagination.
    • 42 Metascore
    • 10 Anthony Lane
    So lazy is the characterization, so hamstrung the plot, and so chronically broad the overacting that the main interest lies in deciding which to block first, your eyes or your ears. [2 Sept. 2013, p.81]
    • 46 Metascore
    • 0 Anthony Lane
    The Catholic Church has nothing to fear from this film. It is not just tripe. It is self-evident, spirit-lowering tripe that could not conceivably cause a single member of the flock to turn aside from the faith.